Tanabe Why is the Buddha Śākyamuni Accompanied by Hercules Vajrapāṇi

8/11/2019 Tanabe Why is the Buddha kyamuni Accompanied by Hercules Vajrapi

1/20

Why Is the Buddha kyamuni Accompanied by Hercules/Vajrapi? Farewell to Yaka-theoryAuthor(s): Katsumi Tanabe

Reviewed work(s):Source: East and West, Vol. 55, No. 1/4 (December 2005), pp. 363-381Published by: Istituto Italiano per l'Africa e l'Oriente (IsIAO)Stable URL: http://www.jstor.org/stable/29757654.Accessed: 24/01/2013 19:47

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2/20

Why

Is

the

Buddha

S?kyamuni

Accompanied

byHercules/Vajrap?ni?

Farewell

to

Yaksa-theory

by

Katsumi

Tanabe

Introductory Remarks

In

the Gandharan Buddhist

reliefs,

the Buddha

??kyamuni

is

represented,

as a

rule,

accompanied

or

followed

by

a

male

figure

(Fig.

1)

holding

a

vajra

(=

thunderbolt)

n

his

hand,

traditionally

alled

Vajrap?ni

(thunderbolt-bearer).

his

male

figure

has

attracted

the attention

of

many

scholars

since

the

discovery

of

Gandharan

sculptures

in

the

19th

century.

A.

Cunningham

identified

him

as

Devadatta,

while

A.

Gr?nwedel

suggested

it

was

possibly

Indra

or

M?ra

P?piy?n

or

Vajrap?ni

(Cunningham

before

1893,

mentioned

by

Gr?nwedel 1893:

88;

1901:

87-95,

figs.

42-46;

Santoro 1979:

294,

n.

4).

However,

Oldenburg

(1901:

223)

definitively

dentified the

male

figure

as

Vajrap?ni

(this

identification

as soon

followed

by

Senart 1905;

Vogel

1909 and Foucher 1905:277; 1918: 48-64,

figs.

26

334).

Finally

Lamotte

(1966)

and

Santoro

(1991)

contributed

long

exhaustive and

detailed

article

to

clarifying

many

problems

concerning

this

enigmatic Vajrap?ni.

Therefore,

it

might

be considered

pointless

for

me

to

contribute

a

short

article

to

solve the

problem

of Gandharan

Vajrap?ni.

However,

as

Santoro

(1991: 293)

correctly

remarks,

the

problem

of

the identification

and function of

Gandharan

Vajrap?ni

is

still

not

completely

solved. That

is

to

say,

the

reason

why

the

image

of

Hercules

was

consciously

chosen and

intentionally exploited by

Gandharan

sculptors

in

order

to

depict

Vajrap?ni

is

not at

all clear.

It

goes

without

saying

that the

physical

type

of

Vajrap?ni

was

fundamentally

derived from that of Hercules. However,

no

scholar has

ever

given any convincing

explanation

of the

most

important

problem why

the

image

of

Hercules

was

preferred

by

Gandharan

sculptors

to

other

Greek

gods,

demi-gods

and

heroes.

Needless

to

say,

there

are

several

proposed

solutions

to

this

problem (equating

the

function f

Hercules with

that f

Yaksa

Vajrap?ni

=

Guhyak?dipati;

familiarity

ith

Hercules

in

Gandh?ra

as

a

protector

of

legitimate kingship

and

so

forth,

cf.

Santoro

1979:

293-302).

However,

in

my

opinion,

all the

arguments

hitherto

put

forward

are

not

only

excessively

Indian-oriented but also

exclusively

preoccupied

with,

if

we

[i]

363

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3/20

Fig.

1-

Vajrap?ni

beside the Buddha.

(Formerly

in

Kabul

Museum).

follow Santoro's

expression,

the bel?

licose

and

quasi-martial

character of

Hercules. Needless

to

say,

this

charac?

teristic is

desirable but

not

a

pre?

requisite

for the

creation

of

Vajrap?ni.

In

my

opinion

this

is

indeed

the

approach

thathas

led all

the scholars

in

the

wrong

direction.

In

this short

paper

dedicated

to

the

memory

of the late

Prof. Maurizio

Taddei

I

take

a

com?

pletely

different and

unprecedented

approach

to

avoid the

age-old

mistake

and

give

a

more

plausible

solution

to

this thorny problem.

1.

Types

of

Vajrap?ni

Typologically speaking,

there

are

several

types

of Gandharan

Vajrap?ni,

as

exemplified

by

Gr?nwedel and

Foucher,

such

as

the

Silenus-type, Satyr

type,

Eros-type, Zeus-type, Dionysos?

type,

Pan-type, Hermes-type,

Hercules

type

and

lastly

Alexander the

Great-type

(Gr?nwedel 1901: 88,

fig.

42; Foucher

1918:

figs.

26-32;

Fischer 1983:

68,

figs.

1-2;

Mustamandy

1984:

177,

figs.

1-5;

Tarzi

2000:

167-70,

pis.

3-4).

In

addition

to

these,

there

s

the

Kushan-type

(Fig.

2),

which

is

attested

by

some

Kapishan

reliefs,

where

Vajrap?ni

wears

Kushan dress

(Gaulier,

Jera-Bezard

&

Maillard

1976:

figs.

16,

29).

Furthermore there

are

a

few

examples

of

Mathuran

Vajrap?ni

(Klimburg-Salter

1995:

pi.

71)

which

might

have been

influenced

by

theGandharan

one

(Flood

1989:

18).

Although

there

re

various

types

of

Vajrap?ni,

the

most

typical

and

fundamental

physical

characteristics

of

this

acolyte

derived from those of Hercules

whose

images

had been introduced

into

Bactria

and Gandh?ra

starting

with the

invasions

of Alexander the

Great

and the

Greco-Bactrians. This is amply attested by the tetradrachms of Alexander theGreat

(beardlessHercules)

and

also the

ones

(Figs.

3-4)

issued

by Euthydemos

I

(bearded

Hercules

seated),

Euthydemos

II

(beardless

Hercules

standing)

and

Demetrios

I

(beardless

Hercules

standing)

later

followed

by

the

Indo-Scythians

(Maues,

Azes)

and theKushans

(Kujula-Kadphises,

uviska)

(Gardner

1886:

pis.

I

II,

XVI

5,

XIX

11,

XXI

9, 11-12,

XXV

1-4,

XXVII

15;

Rosenfield

1967:

77-78,

pis.

IV

73,

V

92;

Mitchiner 1979:

254-55;

Bopearachchi

1991:

pis.

2-5).

It

is

a

known fact that

ome

of

the

Gandharan

Vajrap?ni

images

wear

a

beard while others

are

beardless. The

364

[2]



4/20

Fig.

2

-

Vajrap?ni

beside

theBuddha

in

nirvana.

(Formerly

n

Kabul

Museum).

Fig.

Fig.

1.3

;.4

-

Bearded Hercules

seated,

rev.

of

Euthydemos

Fs

tetradrachm.

-

Beardless Hercules

standing,

rev.

of

Demetrios

Fs

tetradrachm.

(Private

collection).

(Private

collection).



5/20

Fig.

5

-

The

Nativity

of the

Buddha,

Peshawar

Museum.

(After

arshall

1960:

fig.

7).

existence

of these

two

types

of

Vajrap?ni

images surely correspond

with the

two

types

of Hercules of the Greco-Bactrians.

Therefore,

there

is

no

doubt that the

image

of

Hercules/Vajrap?ni

is

a

new

creation

properly

attributed

to

the Gandharan

Buddhist

art,

also

independently

of

ancient

Indian

art

and the

pre-Kushan

Buddhist

literary

sources,

as

Senart

(1905:

316)

correctly

remarked.

The

most

typical

ttribute f theGandharan and

Mathuran

images

of

Vajrap?ni

is,

apart

from the

lion-skin,

the

so-called

vajra,

which

might

be

equated

with the

thunderbolt eld

by

Zeus,

the

original thunder-god

Czuma

1985:

pi.

15;

Bussagli

1996:

251-72;

Santoro 1991:

272-73).

However,

this

weapon

must

have first

belonged

to

Indra,

the

most

powerful

warrior

in

Vedic

times

(Fig.

5),

who

is

considered as a thunder-god and rain-bringer (Vrtrahan) (Konow 1930: 312-15;

Benveniste

&

Renou

1934:

128;

Renou

&

Filliozat 1947:

319, 492;

Zwalf

1996:

143

46,

pi.

136

depicting

ibi-]?taka).

Although

the

vajra itself,

ogether

ith

its

unique

shape,

might

have

originated

in

Indian culture

(Stutley

1977:

320),

and

is

held

by

Indra

in

the relief

depicting

the latter

art

of theVisvantara

J?taka,

n

theNorthern

Gateway

of the

Great

St?pa

at

S?nchi and

in

other

episodes

of the Buddha

S?kyamuni

and

?takas

(Marshall

1960,

pi.

4,

fig.

6;

Lamotte

1966:

118),

it

by

no

means

reveals all the

secrets

and riddles of

Vajrap?ni,

who

curiously

accompanies

366

[4]



6/20

only

the

Buddha

S?kyamuni

in

the

Gandharan,

Mathuran

and Central

Asian

Buddhist

arts

(Gaulier,

Jera-Bezar

&

Maillard

1976:

pi.

73),

but

not

in ancient

Indian

Buddhist

art.

Furthermore, however,

in

my

opinion,

it is

partly

to

the

point

that

Vajrap?ni

seems

to

be the

successor

and

secondary

form of

Indra

(Coomaraswamy

1931:

pi.

3,

N?g?rjunakonda;

Lamotte

1966:

120,

159).

As

far

as

the

ancient

Indian schools

of

art

are

concerned,

there

is

no

extant

example

of

Vajrap?ni

(at

Bh?rhut,

S?nchi,

Bodh-gay?

etc.).

In

the Mathuran

art

of

the

Kushan

period

Vajrap?ni

is

rarely epicted

around

the

Buddha,

and

not

at

all

in

pre-Kushan

art

(New

Delhi,

National

Museum,

L.

55.25;

van

Lohuizen-de

Leeuw

1949:

figs.

3,

51;

Czuma 1985:

pis.

12,

15;

Klimburg-Salter

1995:

pi.

71).

Therefore,

these

Mathuran

pieces might

have been

influenced

by

the

Gandharan

art

as

F.B.

Flood

(1989: 18)

correctly

uggests.

he

same

holds

true

of

the

arts

of

South

India,

for

instance,

of those of

Amar?vati

and

N?g?rjunakonda,

because the

origin

of these

arts is posterior to that of Gandh?ra (Lamotte 1965: 138).

Compared

with the

arts

of the Indian

Subcontinent

proper,

it is

only

in

the

Gandharan

Buddhist

art

that

Vajrap?ni

was

amply

exploited

and

exclusively

popular.

Consequently

it

is

enough

for

us

to

confine ourselves

to

the

investigation

into

the

Gandharan

images

of

Vajrap?ni

so

that

we

can

clarify

the

origin

of

Vajrap?ni.

It is

not

necessary

for

us

to

take

into

consideration

the

relation

of

Vajrap?ni

to

Yaksa,

or

Guhyak?dipati

to

Yaksa

Vajrap?ni,

who has

been

regarded

by

many

scholars

as

the

origin

of Gandharan

Vajrap?ni,

because

Vajrap?ni

and

Yaksa

Guhyak?dipati

are

rarely

nvolved

in

the

literary

ife

story

f

the

Buddha

S?kyamuni,

and

ultimately

could

not

inspire

Gandharan

sculptors.

In

my

opinion

the idea

of

connecting

the

origin

of

Vajrap?ni exclusively

ith the

Indian culture is off themark and has led our

predecessors

in the

wrong

direction.

Why

can

I

say

this?

Because

the Gandharan

images

of

Vajrap?ni

reveal that

they

have

no

Indian

or

Yaksa influence

from the

iconographic

viewpoint,

except

for the

Indian

styled

loin-cloth.

As

is

well

known,

Yaksas

(kings

of

Yaksas)

are

often

depicted

like

an

Indian

prince

or

king

in ancient

Indian

art

(P?rkham,

Patna,

Bh?rhut

etc.;

Rowland

1968:

pis.

12(A),

13,

14(B)).

So

their

status

could

be

comparatively high

and

worthy

of the

name

of

demi-god,

prince

or

king.

However,

if

we

look

at

the Yaksa

images represented

in

Gandharan

sculptures,

they

are not

royal

personages

and therefore

their

status

is

lowered

and somewhat

disgraced.

With

their

naked

body they

seem

to

be

ordinary

labourers

or

slaves

(aborigines)

subordinate

to

a god. For instance, in the Great Departure scenes (Fig. 6) they are nothing

more

than humiliated naked

supporters

of the four hooves

of

Kanthaka.

Therefore

it is

apparent

that the

Gandharans

did

not venerate

Yaksas

as

demi?

gods

but

classified

them

as

lower-class subordinate

beings.

According

to

Foucher,

in

Gandh?ra

the Yaksas

were

rather

notorious

for their

blood-thirsty

and

carnivorous

character,

and also for their

wine-drinking

and

consequently they

were

disgraced,

not

to

say

despised

(Foucher

1905:

42).

This decline

of social

status

or

the

humiliation

of Yaksas

is

quite

natural and

reasonable

in

Gandh?ra because

its

[5]

367



7/20

Fig.

6

-

The

Great

Departure,

Indian

Museum.

(After

limburg-Salter

1996:

pi.

161).

geographical

situation

and

environmental

surroundings

are

quite

different from

those of India

proper.

In

Gandh?ra there

are

only

a

few dense forests where

Yaksas

were

believed

to

live

but

it is

instead surrounded

by

arid and barren

mountains

unsuitable

as

an

environment

for such

beings.

Secondly,

as

said

before,

there

is

no

extant

example

of

a

Gandharan

Vajrap?ni

image

represented

as an

Indian

royal

prince.

All

the

extant

ones

are

depicted

in

the

guise

of

Greek

gods,

demi-gods

and heroes.

On

the other

hand,

Yaksas

are

depicted

as being like ferocious savages undeserving of any kind of veneration (Foucher 1905:

fig.

52;

1918:

fig.

23).

These facts

rove

thatthe

origin

of

Vajrap?ni

and his

image,

despite

the Indian

appellation,

has

nothing

to

do with

the Indian Yaksa cult and

culture.

Probably,

the

figural

image

of

Vajrap?ni

was

first invented

by

Gandharan

sculptors

nd

was

later

adopted by

theBuddhist

Samgha

and

incorporated

nto

the

literature

ontaining

the life

story

f theBuddha

S?kyamuni.

Many

scholars have

hitherto

believed that

Vajrap?ni

first

appeared

in

theBuddhist literature nd after

that

its

images

were

created

by

Gandharan and

Mathuran

sculptors

who referred

to

368

[6]



8/20

the

description

of

Vajrap?ni

in

the

Buddhist

literary

sources.

However,

this

assumption

is

not

based

on

any

concrete

literary

evidence and

therefore

their

viewpoint

should be

rejected.

On

the other

hand,

there

is

no

iconographic

connection between

Vajrap?ni

and

the Iranian

or

Kushan

war

god Verethragna

=

Ushlagno,

although

a

few

Kapishan

Vajrap?ni images

wear

Kushan

dress

(Fig.

2)

being

devoid

of

a

falcon

depicted

on

the head

of

Ushlagno

(Rosenfield

1967:

pi.

IX

167, 168;

Gobi

1984:

pi.

170

Orlagno

1).

As

for the

relationship

between

Hercules

and

Ushlagno,

Hercules

is

identified ather

ith Oesho

as

the earliest

gold

issue

of Kaniska

I

suggests

(Cribb

1997:

36,

fig.

Gl;

Takeuchi

1998:

figs.

3a-4b),

although

Hercules

seems to

be

identified ith

Oshlagno

in

one

unique

type

f

Huviska

gold

coin

(Rosenfied

1967:

77-78,

pi.

IV

73;

Gobi

1984:

pi.

20.269).

In

any

case,

neither

Verethragna

nor

Ushlagno

can

be

considered

as

inspirational

models for the

image

of

Vajrap?ni

because the Kapishan Vajrap?nis are rather exceptional and display a regional

variation,

in

addition

to

the fact

that

they

do

not

belong

to

the earliest

period

of

Gandharan

sculpture.

Another old

view

proposed

by

Spooner

and

partly accepted

by

Oldenburg,

that

is

to

say,

the

Avestan

frawasi

theory

of

Vajrap?ni,

should

be

discarded

as

well

as

Senart's

and

Bussagli's

personification

of

the

magical

power

of

vajra

and the

Buddha

(Senart

1905:

130;

Spooner

1916;

Oldenburg

1917:

131;

Bussagli

1996:387-88,251).

From

the

foregoing

it is

clear

and reasonable

that

the

right

way

to

search for the

origin

of

Vajrap?ni

should

be

confined

to

theGreek

mythology

with

many

gods,

demi-gods

and

heroes,

but

not

Yaksas.

2.

Vajrap?ni

in the

Life-story

f

the

Buddha

^?kyamuni

In

Gandharan

narrative

stone

reliefs

Vajrap?ni

does

not

accompany

the

Buddha

3?kyamuni

before

His Renunciation

and Great

Departure

from

Kapilavastu

(Foucher

1918:

48).

This fact

is

very

important

for

our

investigation.

In

the

relevant

reliefs

depicting

such

episodes

as

the

Descent from the

Tusita

Heaven,

the

Nativity

(Fig.

5),

the

Return

to

Kapilavastu,

the School

days,

the

Presentation of Yasodhar?

to

the

prince

Siddh?rtha and

so

forth,

which occurred

before the

Great

Renunciation

and

Departure (Fig.

6),

we

rarely

see

Vajrap?ni

accompanying

the

prince Siddh?rtha,except forone extant reliefthat is said to depictVajrap?ni in

thePresentation of Yasodhar?

to

the

prince

Siddh?rtha

(Lamotte

1965:

137).

As

this

piece,

excavated from Butkara

I

by

the Italian

Mission,

was

probably produced

comparatively

late

in

Gandh?ra,

we can

exclude

it

from

our

discussion

(Faccenna

1962:

46,

pi.

CLXII; however,

the

present

author

could

not

recognize Vajrap?ni

in

the

left

corner

of

the relevant

relief).

In

the

Nativity

scene

(Fig.

5)

it is

not

Vajrap?ni

but

Indra

that

is

depicted

holding

a

vajra

(Marshall

1960:

pis.

34-35),

although

in

this relief

Indra's role

is

not to

guard

nor

to

protect

the

infant

[7]

369



9/20

Siddh?rthabut

is

temporarily

resent

in

order

to

glorify

im.

In

my

opinion,

this

s

also

a

quite important

fact for

clarifying

the

origin

of

Vajrap?ni

and

his

image

as

is

stated

below.

After the

Great

Departure,

in

the

scenes

of

the

Exchange

of

Clothes,

the

First

Sermon,

the

Visit of

Indra,

and

so

forth,

until

the

Mah?parinirv?na

the

Buddha

S?kyamuni

is,

in

most

cases,

accompanied

by

Vajrap?ni although

his

accompaniment

is

rarely

mentioned

in

the

literary

life-story

of

the Buddha

S?kyamuni.

Needless

to

say,

the

subjugation

episode

of the

Dragon

(N?gar?ja)

in

Swat

mentions

the

accompaniment

of

Vajrap?ni,

but this

episode

is

surely

a

later

invention

when

the

Buddha

images already

existed

and His

life

story

in

stone

was

popular

(Lamotte

1966:

132-36).

Therefore,

this

kind of

episode

does

not

prove

the

priority

of

Vajrap?ni

in

the

Buddhist

literary

sources.

Generally

speaking,

the total

absence

of

Vajrap?ni

in

the

pre-Renunciation

life of

the Siddh?rtha in stone talliesperfectly ith that inHis literary ife-story.n the

Lalitavistaray

the

Mah?vastu,

the

Vinaya

of

the

M?lasarv?stiv?dins,

the

Buddhacarita

and

so

forth

we

have

not,

as a

rule,

recognized

the

participation

of

Vajrap?ni

in

the

episodes

of the

prince

Siddh?rtha

except

for

the

Great

Departure

narrated

in

the

Lalitavistaray

Chapt.

XV:

Les

dieux

de la

terre et

de

l'atmosphere,

ainsi

que

les

Gardiens

du

monde,

Sakra le

maitre

des dieux

avec

sa

suit

[...]

Et

le

maitre

magnanime

des

Guhyakas,

lui

aussi,

portant

un

foudre

br?lant,

se

tient

dans

Pair,

le

corps

revetu

d'une

cuirasse,

doue

de

force,

[...]

tenat

avec

la

main

foudre

etincelant.

(Foucaux

1884:

193;

Lamotte

1965:

121).

In thisdescription, the existence ofYaksa Guhyak?dipati holding a vajra is

clearly

mentioned and this

might

be,

at

first

sight,

satisfactory

evidence

confirming

that

Vajrap?ni

appeared

in

the Buddhist

literary

sources

earlier

than

in

the Gandharan

narrative

reliefs.

However,

he

is

said

to

wear

a

suit

of

armour.

None

of

the Gandharan and

Mathuran

images

of

Vajrap?ni

wear

any

armour

(Gr?nwedel

1901:

88,

fig.

42).

Therefore,

this

description

is

definitely

much

later

and

must

be

a

later

interpolation.

It is

therefore

not

to

be taken

into

consideration,

because

Vajrap?ni

is

not

mentioned

in

the

Great

Departure

of the

two

Chinese

versions

of the

Lalitavistaray

the

Puyao jing

(translated

in

308)

and

the

Fangguang

da

zhuangyan

ing

(translated

n

683) (Tais?

Tripitakay

ol. 3:

504

506, 572-76). The

same

holds

true

for the relevant passages of the Vinaya of the

M?lasarv?stiv?dins

and its

Chinese

version,

the

Genben shuo

yiqie

youbu

pinaiye

po

sengshi

translated

n

the

late

7th

or

early

8th

century

.D.)

(Gnoli

1977:

88-89;

Tais?

Tripitaka,

Vol.

24:

116-17).

In

order

to

further

corroborate

my

interpretation,

I

will take

into

account

the

case

of

Kuvera/Vaisravana

in

the

Great

Departure.

In

the

relevant

passage

of the

Vinaya

of the

M?lasarv?stiv?dins,

those who

guide

the

prince

Siddh?rtha

and

Kanthaka

are

Kuvera,

Indra

and Brahm?

(m?rgam

svayam

darsayate

kuberah

sakras

370

[8]



10/20

Fig.

7

-

The Great

Departure,

National

Museum of Pakistan.

(After

HK

1998:

pi.

87).

tath?

brahmasahiya

eva,

Gnoli

1977:

89;

Tanabe

1993/94:

169;

2000:

1089).

The

same

three

deities

are

also mentioned

in

the Chinese

version

(Genben

shuo

yiqie

youbu

pinaiye

po

sengshi)

(Tais?

Tripitaka,

Vol. 24:

117a).

These

threedeities

are

depicted

in

a

Great

Departure

relief

(Fig.

7)

housed

in

theNational

Museum of

Pakistan

in

Karachi

(No.

N.M.P.

1982).

In

this relief

uvera

holding

a

bow

in

his

left

and and

showing

the

way

with his

right,

s

depicted

in

front f

Kanthaka,

while

Brahma

without

a

turban

and

Indra

wearing

a

turban

are

depicted

on

the

left

extremity.

lthough

Indra is

depicted,

he

is

not

the

guide

or

protector

of

prince

Siddh?rtha

but

is

simply

enerating

nd

praising

the

prince

who

is

about

to

leave

the

secular

life.

n

theother

hand,

in

the

alitavistara,

hapt.

XV

the

name

of the

guide

is

Vaisravana,

not

Kuvera,

although

Indra,

together

with

Brahma,

ismentioned as

having opened

the

Gate

of

Kapilavastu

(Foucaux

1884:

194).

In

its

Chinese

version

(Puyao ing),

Vaisravana and Indra

are

said

to

have

guided

Siddh?rtha

(Tais?

Tripitaka,

Vol. 3:

507b).

Therefore,

as

in

the

case

of

Kuvera/Vaisravana,

the

literary

description

corresponds

to

the

sculptural

representation.

Conversely,

there

is

no

such

correspondence

in

the

case

of

Vajrap?ni.

Consequently,

it is

clear that

the

guard

and

guide

named

as

Vajrap?ni

did

not

exist

originally

ither

n

the

literary

or

the

figural

Great

Departures.

It

is

not

Vajrap?ni

but Indra that

is

actually

involved

in

the

Great

Departure

as

another,

secondary guide

and

guard

of Siddh?rtha

as

is

clear

from

the

descriptions

in

the

Vinaya

of theM?lasarv?stiv?dins

and the

Puyao fing.

However, Indra is not depicted as the guide

or

protector of the prince in the

relevant

relief

Fig.

7).

This

difference

etween

the

literary

radition

nd the

figural

representation

is

quite

interesting.

In

my

opinion,

it is

in

this

dichotomy

that the

secret

of

Vajrap?ni

is

hidden.

The

most

crucial

problem,

then,

is

the fact that

Gandharan

sculptors

intentionally eplaced

Indra

by

Hercules

in

another

relief f

the

Great

Departure

(Fig.

6).

In

the above

arguments,

we

must

take

into

account

both

Hermes and

Hercules,

who

correspond

exactly

to

Kuvera

(Vaisravana)

and Indra

(Vajrap?ni).

371



11/20

3.

The Role

of

Hercules

and

His

Guest

and

Companion,

Hermes

Hercules

is

a

famous

wanderer

who

traveled all

over

the world

in

search of the

Apple

of

Hesperides

(Immortality)

and

consequently

came to be

regarded

as savior

and

averter

of evil

{Harper

s

Dictionary

of

Classical

Literature

and

Antiquities,

1965:

791-93).

In

this

sense

he

is

the

most

appropriate

Greek

hero-god

to

be

employed

as

the

guide

and

guard

of

S?kyamuni,

who also traveled

over

the

Jambudvipa

to

preach

his

Law.

Especially

if

several

Greek

myths

that

Hercules

exterminated ferocious

animals

or

monsters

such

as

the

Nemean

Lion,

Hydra,

Wild

Boar,

Cerberos

and

so

forth

symbolize

Hercules'

role of

eliminating

evils and

dangers

from

highways,

Hercules

might

have been

regarded

by

theGandharan

Buddhists

as

the

most

suitable

acolyte

f the

Buddha

S?kyamuni.

Conversely,

Yaksa

is

not

a

traveler,

and

therefore

is

not

suitable for

being

a

guide.Hercules isalso a chthonicdeityvisiting heUnderworld ofHades and taking

away Cerberos,

or

bringing

back

Alkestis,

the

self-sacrificing

wife of the

egoistic

king

Admetos

from

the

Underworld

(Andreae

1963:

40-45,

fig.

3;

LIMC,

Vol.

I:

536-39,

Vol.

V:

Alkestis

16-48).

Chthonic Hercules

is

depicted

in

the

Roman

sarcophagae

in

theMuseo

Nuovo

Capitolino

and

Museo Torlonia

in Rome

(Haarlov

1977:

figs.

5,

42).

In

the Velletri

sarcophagus

chthonic Hercules

is

represented together

with

Hermes

psychopompos

(as

forHercules' chthonic

character,

Bayet

1921/22:

263-64;

1923).

Hermes is

regarded

as a

guest

of

Hercules and

is

often likened

to

Hercules

(Zanker

1965:

16-18;

LIMC,

Vol.

V:

166-67;

Vol.

IV:

758,

no.

591, 773,

nos.

926a,

b).

Hermes

is

a

helper

and

companion

of Hercules

(von

Schroeder

1914:

12).

In

figural

art, Hercules is sometimes

depicted together

with Hermes as in a fifth

century

Greek

plate

painting (Brygos-painter)

and

on

several

Etruscan

mirrors

(Bayet

1926:

54,

164,

179,

pi.

Vila;

Neumann

1965:

15,

fig.

4,

British

Museum).

Hermes

was

quite

often venerated with

Hercules,

as

both

were

protectors

of

youth,

'the first

presiding

over

eloquence

and the second

over

physical strength'

(Carabatea

1997:140).

In

the Velletri

sarcophagus (Fig.

8)

Hercules

wearing

a

lion-skin and

holding

a

club

is

leading

a woman

(Alkestis)

out

of the

half-open

door ofHades

while

Hermes is

taking

a

man

out

of

the

half-open

door

(Haarlov

1977:

26,

ills.

22-23;

LIMC,

Vol.

V:

403,

Alkestis

21).

In

theRoman

tomb

painting

(Fig.

9)

of

Nasonii

Hercules and Hermes

are

depicted together

leaving

the

Underworld

of Hades

taking

multi-headed Cerberos

(Reinach 1922, fig. 189.7;

Andreae

1963:

102, 124,pi. 57).

On

the

reverse

of

an

orichalcum

sestertius

of

Tiberius

(A.D.

35-37)

the

Temple

of

Concord

is

represented

at

the base of the

Capitoline

Hill,

and

at

the

front

entrance

of

this

temple

both

Hermes

and Hercules

appear

as

if

they

formed

a

pair

(Vermeule

1957:

284,

pi.

15,6).

As is

clear from

these

examples

Hercules is

also

psychopompos

as

well

as

Hermes.

Sometimes

Hercules

is

depicted

on

behalf

of Hermes

in

Roman

art

(Andreae

1963:

41,

fig.

3).

In

another

Roman

sarcophagus

from the

Augustan period

372

[10]



12/20

^^^^^^^ ^^^^^

^^j^^

jj^^

^^^^^^

Fig.

8

-

Chthonic

Hercules

guiding

lkestis,

he elletri

sarcophagus.

After

ndreae

1963:

pi.

8).

Fig.

9

-

Hercules and

Hermes

in

the ades'

Underground.

(After

einach

1922:

fig.

189.7).



13/20

both Hercules and

Hermes

escort

the souls

of the dead

family traveling

on a

boat

to

theOther World

(Erysium)

(Andreae

1963:

63,

pi.

35.1).

According

to

H.

Wagenvoort,

Hermes

was

considered the

guide

(\|A)X07t0Li7i?c,)

f the souls

on

their

journey

to

the

Underworld,

Hercules had

previously

been

regarded

as

the

right guide

(rryeiiov)

to

the

paradise

in

the far

West

(Isle

of the

Blessed,

Isle of the

Erythreia,

theGarden of

Hesperides,

Pillars

ofHercules

etc.),

in

the

same

way

as

he

was

held

to

be the

guide

of

those

emigrating

to

other

countries.

It is

therefore

quite

natural that

'Hermes and

Hercules often

appear

in

combination

in

cult and

are

frequently depicted

together' (Wagenvoort

1971:

115).

The association of

Hercules

with

Hermes is

also observed

in

gymnasiums,

hippodromes

and

so

forth

(Jourdain-Annequin

1989:

360-61,

369-70).

Wagenvoort

further

mentions

that both

were

Gods of theRoad

(Wegg?tter)

the function

of

which

is

certainly

the

most

important

factor for

the

origin

of

Vajrap?ni,

and

his

conclusion

seems

to

be corroborated

by

many

names

of

cities

such

as

Heraclea

in

Greece

and Asia

Minor

(Wagenvoort

1971:

119).

In

any

case,

Hercules

was

venerated

as an

assistant

and

protector

of human

beings

and

also

a

divine

and

apotropaic

escort

of the

dead.

4. Hermes/Vaisravana

in

Gandhara

The

psychopomos

function of Hercules

might

be better

understood

if

we

juxtapose

Hercules with Hermes in the Gandharan art. As for the latter I have

already

demonstrated that his

image

was

employed

as

the

model of

Vaisravana

guiding

the

prince

Siddh?rtha

when he

departs

from

Kapilavastu

at

midnight,

in

addition

to

his

leading

role

in

the

scene

of the

Donation

of the

Four

Bowls

by

the

Guardians of the World

(Four

Lokap?las,

Tanabe

1993/94).

This acculturation

might

have been

partly

influenced

by

the Kushan

god

of

wealth,

Pharro,

whose

image

was

also modeled after that of

Hermes with

a

pair

of

wings.

In

the

case

of

Vaisravana,

his

prototype

existed

in

the

Buddhist literature

as

Kuvera

or

Kubera,

the

northern

guardian

of the

Four

Quarters

of

theWorld.

Kuvera is

the

king

of Yaksas

and had been

represented y

an

Indian

princelyfigure

efore

theKushan

period

(at

Bharhut)

and

its

iconography

was

followed

by

Gandharan

sculptors

at

first but

was

later

replaced by

that

of

Hermes

=

Pharro

=

Vaisravana

(Tanabe

1993/94).

However,

in

the

case

of

Hercules,

whom

most

scholars

equated

with Yaksa

(Vajrap?ni),

the

same

cannot

hold

true.

There

is

no

reliable

pre-Kushan literary

evidence that

aksa

Vajrap?ni accompanies

the

Buddha

??kyamuni

during

his

long

journey.

As

already

stated,

Yaksa

is

not

qualified

to

be the

right

guide

and

escort

of

travelers.

As

regards

the Buddha

S?kyamuni's

travel

accompanied

by

Vajrap?ni

in

the North-West

Frontier

Province,

especially

in

Swat,

to

subjugate

the

malicious

374

[12]



14/20

dragon {n?gar?ja)

recorded

by

Fa-xian,

Song

Yun

and

Xuanzang

must

have been

added

to

the

life-story

f

the

Buddha

S?kyamuni

fter

heBuddha

image

was

already

created

in

the

early

Kushan

period

(Lamotte

1966:

132-36).

Therefore,

other

instances

of

Vajrap?ni's

intervention

in

the

episode

of

the

Buddha

S?kyamuni

cannot

be

taken

at

their

face

value,

but should rather

be

regarded

as a

later addition

or

interpolation

as

the Buddha

and

Bodhisattva

images

were

already

popular

and

prevalent

in

Gandh?ra.

In

order

to

corroborate

my

hypothesis

I

shall take the

famous relief

of the

Great

Departure

(Fig.

6)

in

the

possession

of the

Indian

Museum,

Calcutta

(Foucher

1905:

358,

fig.

182;

Marshall 1960:

pi.

84;

Himburg-Salter

1995:

pi.

161)

and

the

one

depicting

the

Nativity (Fig.

5)

in

thePeshawar

Museum

(Marshall

1960:

pis.

34-36).

In

the former

both

Vajrap?ni

and

Kuvera

are

represented.

In

this

case

the

guide

of

prince

Siddh?rtha

is

not

Vaisravana

but

Kuvera

wearing

Indian

princely

dress and

holding a bow and an arrow (broken) infront fKanthaka (Tanabe 1993/94;2000.

The

involvement

of

Kuvera is

surely

mentioned

in

the relevant

passage

of

the

Samghabhedavastu

of the

Vinaya

of

the M?lasarv?stiv?dins

and

its

Chinese

version,

and

that

of

Vaisravana

in

chapter

fifteen

of the

Lalitavistara

and

so

forth

(Gnoli

1977:

88-89;

Foucaux 1884:

194).

Therefore,

the

presence

of

Kuvera

or

Vaisravana

is

corroborated

also

by

the

literary

evidence.

However,

the

intervention of

Vajrap?ni

or

other

Yaksa

is

not

attested

by

any

extant

Buddhist

episode

of the

Great

Departure.

However,

to

the

viewer's

right,

Vajrap?ni

is

certainly depicted

above

Chandaka

holding

an

umbrella.

He

is

modeled after

beardless Hercules.

Beardless

Hercules has

a

long

tradition

since

Alexander the

Great and the

Greco-Bactrian

king

Demetrios

(Fig.

4)

in

Central

Asia. Kuvera

is

Yaksa,

and

is

eventually

depicted

wearing

Indian

princely

dress.

Therefore,

if

Vajrap?ni

were

depicted

in this relief he

should

have

been

depicted

in

the

same

way,

because

Vajrap?ni

is

also

Yaksa.

However,

Vajrap?ni

is

not

depicted

that

way

but

as

young

Hercules.

Then,

how

about his

vajra?

It

is

not

the

attribute

of Hercules.

From

where this

vajra

originated?

It is

from

ndra

who

is

depicted

in

the

Nativity

scene

(Fig.

5).

According

to

the

Samghabhedavastu

of the

Vinaya

of

the

M?lasarv?stiv?dins

and

its

Chinese

version

quoted

above, Kuvera,

together

with

Indra

and

Brahma

guides

prince

Siddh?rtha

when

he

departs Kapilavastu.

In

this

relief

(Fig.

6)

Kuvera

holding

a

bow

and

an

arrow

and Brahm?

(adoring

the

prince)

are

depicted

to

the

extremity

of

the

viewer's

left

in

front

of

Kanthaka.

As

for

Indra

he should

be identified

with

Vajrap?ni/Hercules depicted in the upper right corner, for other personages

depicted

in

this

relief

cannot

be

identified

with

Indra.

In

this

case

Indra

is

not

represented

as

Indian

princely figure

as

he

is

in

the

Nativity

scene

(Fig.

5)

but

as

Hercules.

In

other

words,

Indra

who

is

thought

to

be

one

of

the

two

guards

and

guides

of Siddh?rtha

(cf.

above

pp.

8-9)

is

replaced by

beardless Hercules

just

as

Kuvera

would

later

be

replaced

by

Hermes/Vaisravana.

Here is

the

beginning

of

so

called

Vajrap?ni

depicted

as

Hercules.

Therefore,

it

is

clear

that

the

vajra

of

Vajrap?ni

was

inherited from

Indra

as

Indra

in

the

Nativity

scene

(Fig.

5)

and

a

free

[13]

375



15/20

^^^^^Bl

i%?

Fig.

10

-

Vajrap?ni.

(Peshawar

Museum).

Standing

Vajrap?ni

wearing

Indra's

spherical

cap

(Fig.

10)

suggest.

This

might

have been caused

by

the bellicose

and

quasi-martial

character shared

by

both Hercules and Indra

(Hopkins

1915:

123-24;

von

Schroeder 1914:

20

22,

107-109;

Lamotte

1966:

115).

Furthermore,

the thunderbolt of

Zeus,

also

equated

with Indra

might

have

been taken

into

consideration

by

Gandharan

sculptors

in

order

to

exalt

the

position

of

Vajrap?ni.

Needless

to

say,

Yaksas' role

is

not

that of

guide

or

protectorof theprince Siddh?rtha but

just

the

supporter

of

Kanthaka's hoofs.

Concluding

Remarks

From

the above

it is

now

clear that

both

images

of Hercules and

Hermes

were

employed

as

divine

guide

and

escort

of the

prince

Siddh?rtha and the

Buddha

S?kyamuni

in

Gandharan

Buddhist art. In

particular,

the function and role of Hercules

as

reliable

guide

were

regarded

as

more

suitable for attachment

to

the

image

of

S?kyamuni,

who

is

said

to

have traveled

widely

in

India,

including

Swat

in

northern

Pakistan,

than that of

Hermes.

Therefore,

the Buddha

S?kyamuni's

travel associated

Him

with

Hercules,

who

also made

long

journeys

to

the

extreme

West

(cf.

Pillars of Hercules

at

Gibraltar),

at

least

in

the last three

ourneys

f his twelve

great

deeds

(to

the Isle of

Erythreia

where

tricephalic

Geryon

possesses

cattle,

the Garden of the

Hesperides,

and

to

the Underworld of

Hades)

(von

Schroeder 1914:

57-67, 67-83,

85-91;

Daremberg

&

Saglio

1963:

92-99;

Jourdain-Annequin

989:

55, 251-71,

520-66).

In

addition

to

this,

the

psychopompos

function of

Hermes

is

rather

temporary

while that of Hercules is eternal because he is themost typical traveler among the

Greek heroes and

gods.

This difference

between

Hermes

and Hercules

was

fully

understood

by

Gandharan

sculptors

and

eventually

Hercules

was

preferred

and

employed

by

them

n

so

many

episodes

of the

S?kyamuni's

life

story

hile Hermes

was

confined

to

the

Donation

of the

Four

Bowls

by

the

Four

Lokap?las

and the

Great

Departure.

Usually,

in

the last

two

scenes

(Figs.

11-12)

Vajrap?ni

is

not

as a

rule

depicted

because the

role of

guide

and

guard

is

already

indicated

by

the

presence

of Vaisravana

=

Pharro

=

Hermes

(Tanabe

2002:

figs.

1,

6-7).

376

[14]



16/20

Fig.

11

-

The

Donation

of the

Four

Bowls

by

the

Four

Lokap?las.

(Hirayama

Ikuo

Collection).

To

sum

up

my

arguments,

the

adoption

of Hercules'

image

by

Gandharan

sculptors

to

depict

the

escort,

guard

and

guide

of the Buddha

S?kyamuni

has

nothing

to

do

with theYaksa

Vajrap?ni,

Guhyak?dipati

nor

with the

pre-Kushan

Yaksa

Vajrap?ni,

but

was

done

to

replace

Indra

by

Hercules. When Gandharan

sculptors

had

to

depict

the

episodes

of the Buddha

S?kyamuni,

they

took

it

for

granted

that the

personage

like theBuddha

corresponding

to

theCakravartin

king

must

be

escorted

and

guarded by

a

deity

superior

to

Indrawho holds

a

vajra

but

is

not

a

good

traveler

and adventurer

nor a

reliable

deity

to

a

man

in

need. Indra

was

not evaluated so highlyaswe might expect by theBuddhists due tohis personal

defects.

E.

Lamotte

says

as

follows:

Mais

le

Sakra

bouddhique,

devot

transi,

n'a

plus

rien

de l'Indra Vrtrahan des

hymnes vediques.

II

n'est

ni

fort

ni

tres

intelligent

et

ses

imperfections

sont

nombreuses.

II

n'a

pas

elimine le

triple

poison

de

l'amour,

de la haine

et

de la

stupidite,

demeure

sujet

?

la

mort et

?

la

renaissance

et est

entraine

dans le

tourbillon de la

transmigration.

//

est

timide,

sujet

?

la

panique

et

prend

souvent

la

fuite.

(Italics

mine,

Lamotte 1966:

116).

[15]

377



17/20

Fig.

12

-

The

Great

Departure.

(National

Museum

of

Pakistan).

It

is

apparent

that Indra's three drawbacks underlined above make

him

too

unsuitable

to

be

employed

as

the

proper

guide

and

protector

of travelers.

In

addition

to

these

defects,

it is

also

probable

that theGandharan

Buddhists,

at

least

the

sculptors,

ere

not

satisfied ith

a

Hindu

god

always accompanying

theBuddha

S?kyamuni.

Therefore

they

tried

to

find

a

more

suitable

acolyte

than the unreliable Indra

among

the

Greek

gods

and

heroes,

and

they

came across

both

Hermes

and

Hercules,

and

chose

the latter

as

the best candidate due both

to

his

bellicose,

quasi

martial and

apotropaic

haracter

bsolutely ndispensable

to

the

guard

in

addition

to

his further

reputation

thatHercules

is

the best

traveler and

at

the

same

time

the best

guide

and

protector

of

travelers,

or

to

the

fact

that

Hermes

had

already

been

used

to

depict

another

temporary

escort

of the Buddha

S?kyamuni,

Vaisravana.

378

[16]



18/20

I

maintain

that both Hermes

and Hercules

should

have been

taken

into

consideration

together

when

our

predecessors approached

the

problem

of

Vajrap?ni

in

the

Gandharan Buddhist

art.

The

Hermes

and

Hercules

pair corresponds exactly

to

that of

Kuvera/Vaisravana

and Indra. These

view-points

have

been

completely

excluded

by

all the

researchers

of

the

Gandharan

art

and

also

by

the

Buddhologists.

That

is

the

main

reason

why they

could

not

grasp

the

real

origin

of the

Vajrap?ni

image.

In

conclusion,

in

Gandh?ra the

image

of Hercules

was

adopted

by sculptors

to

replace

that of

Indra,

because Hercules

was

well

known

to

them and

regarded by

them

as

the

most

suitable

guide

and

guard

of the Buddha

S?kyamuni.

Therefore

the

image

of

Vajrap?ni

might

be considered

a

form

of

Indra,

metamorphosed

and exalted

by

the

image

of

Hercules,

but

not

the

secondary

form

of

Indra

at

all

(cf.

Lamotte

1966:

120,

'une

forme

metamorphique

de

3akra\

159,

Torme

secondaire

dTndra').

Gandharan sculptors added a vajra of Indra, qualified as vajrap?ni ever since the

Vedic

times,

to

the

image

of

Hercules

by replacing

the club

by

the

vajra

and created

a new

hybrid

type

of

guard

and

guide.

After

that,

Gandharan Buddhist monks and

laymen

who

saw

the

newly

created and unfamiliar

image

for

the first

time

named

him

Vajrap?ni

simply

ecause he holds

a

vajra.

This

is

the

origin

of

Vajrap?ni

in

Gandh?ra.

Later

on

Gandharan Buddhist monks classified

Vajrap?ni

as

Yaksa and

interpolated

im into

the

life

story

f theBuddha

S?kyamuni.

t is

true

that

some

Gandharan

Vajrap?ni images

are

represented

as

hermits

or

rsi

although holding

a

vajra

but devoid

of

the

physical

appearance

of

Hercules,

or

exceptionally

as a

Kushan

prince

or

donor

(Kapishan

Vajrap?ni, Fig.

2).

This

iconographic peculiarity

might

be

explained

as a

later

physical

feature of

Vajrap?ni

who

was

identified

as

Yaksa,

because once the name of the

perpetual acolyte

of the Buddha

S?kyamuni

was

established

as

holding

a

vajra

in

his

hand,

his

physical

appearance

became

less

important

and

eventually

could

be

represented freely by

any

image

of

a

deity.

In

other

words,

the

image

of

Vajrap?ni

was no

longer

confined

to

the Herculean

type

but could be executed

by

other Greek

deities and others

listed above

(p.

2)

except

for

ndra. The head of

the

Alexander the

Great

type

f

Vajrap?ni

found

at

Hadda

(Tape-Shotor)

seems

to

be

applied

for

Vajrap?ni

in

order

to

enhance

the

status

of

the

latter.

Therefore,

the

adoption

of

the

other Greek

deities and

demi-gods by

Gandharan

sculptors

should be

interpreted

as

reflecting

the

later features of

Gandharan

iconography

of

Vajrap?ni.

In closing, if

someone

asks

me

why theBuddha S?kyamuniis accompanied by

Vajrap?ni,

I

will

affirmatively

nd

succinctly eply

because

in

Gandh?ra

Hercules took the

place

of Indra

Vajrap?ni

and

eventually

the

Indra

Vajrap?ni's

role of

guide

and

protector

of

the

Buddha

S?kyamuni

was

replaced by

Hercules

invictus

and

psychopompos

who

was

well known

as

the

most

reliable

guide

and

protector

of traveler

in

theGreek

world.

[17]

379



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Date post:	03-Jun-2018
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Tanabe Why is the Buddha Śākyamuni Accompanied by Hercules Vajrapāṇi

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